Narada Purana — Purva Bhaga, Shloka 182
Mahāviṣṇu-Mantras: Aṣṭākṣarī, Sudarśana-Astra, Nyāsa Systems, Āvaraṇa-Pūjā, and Prayogas
बन्धूककुसुमाभासाःमुक्ताहारलसत्कुचाः । उत्फुल्लांभघोजनयना मदविभ्रममंथराः ॥ १८२ ॥
bandhūkakusumābhāsāḥmuktāhāralasatkucāḥ | utphullāṃbhaghojanayanā madavibhramamaṃtharāḥ || 182 ||
அவர்கள் பந்தூக மலர்போல் ஒளிர்ந்தனர்; முத்துமாலைகள் பிரகாசிக்க அவர்களின் மார்பகம் விளங்கியது. மலர்ந்த தாமரை போன்ற கண்கள் விரிந்திருந்தன; ரதி-விளையாட்டின் மயக்கத்தில் மெதுவாக அசைந்து நடந்தனர்।
Sanatkumara (in dialogue with Narada, descriptive narration within the Adhyaya)
Vrata: none
Primary Rasa: shringara
Secondary Rasa: adbhuta
FAQs
This verse uses vivid kāvya-style imagery to portray worldly fascination (kāma-rasa). In the Purāṇic setting, such descriptions often serve as a contrast—highlighting how sensory beauty can captivate the mind, which later teachings redirect toward dharma and higher knowledge.
Indirectly: by presenting the allure of sensual charm, it sets up the need for directing attention away from mere sense-enjoyment toward steadier devotion. In Narada Purana’s broader voice, bhakti becomes the means to transform attraction into remembrance of the divine rather than attachment to fleeting forms.
The verse exemplifies a Vedāṅga-adjacent literary technique—clear simile and aesthetic diction—useful for Chandas (prosody) and Vyākaraṇa (compound formation like bandhūka-kusumābhāsa, muktā-hāra). It demonstrates how precise compounds and imagery convey meaning compactly.